You have to take MOLAA’s word that Felipe Ehrenberg and his prodigious output are significant because, other than didactic material, evidence adduced by the exhibition itself doesn’t clarify the matter.
This 50-year survey is Mr. Ehrenberg’s first major U.S. exhibition. Ism-wise, it runs the gamut from installation and video work to conceptual and performance pieces from the Sixties to the present day. Apprehension if not comprehension of the work easily show how the work blurred borders (he extols the virtues of borderless, limitless Manchuria) and invalidated institutional structures.
Historically his significance is undeniable, as a participant, as a mentor, and as a humanitarian. He was involved in the Fluxus movement, created the first conceptual piece displayed at London’s Tate Modern, formed artist groups in Mexico, including the Conceptualism-based Grupo Proceso Pentágono, ran for political office, and raised funds to help villages razed by the 1985 Mexican and Central American earthquakes.
He calls himself a Neologist, “an activist of culture...conceived as someone who determinately influences its developments without being restrained by previous established traditions.” That definition, along with didactic material words like “strategies,” “tactics,” “boundaries,” standards,” “investigations,” “appropriates,” “peripheral,” “diffuse,” and “ambiguous” explains his guerilla infiltration into public consciousness and the corridors of officialdom.
Perhaps, though, if his work is so intent on dismantling institutional structures, then a museum conceived on the scale of an Aztec temple is the last place it ought to be exhibited.